Jeepney Press March-April 2023

TRAFFIC by Alma Reyes

Why Every Filipino Should Watch

“Triangle of Sadness”

It is not every day that we see a Filipino actor take a lead role in an international film. But, this is not the sole reason why every Filipino should watch the captivating film “Triangle of Sadness” by multi-awardee Swedish director Ruben Östlund. Garnering the Palme d’Or 2022, European Film Award for Best Film 2022, and more awards and nominations for directing, screenwriting, costume design and acting performances, this aesthetically crafted film conveys so many overlapping messages that may hurt, anger, or enlighten us, and awaken the baffling realities of our daily existence.

In a gist (spoiler warning), the story involves two young millennial fashion models, Yaya and Carl, who win an all-expense-paid cruise trip in exchange for social media promotion, and mingle with the bourgeois and oligarchs on board the yacht. Amidst the sexism and social and work hierarchy visible on the yacht, the passengers succumb to seasickness and possibly food poisoning during a stormy dinner, causing havoc, electricity failure, and sewage flood. Pirates from nowhere bomb the yacht and leave eight passengers and crew trapped in an isolated island.

Every scene in this movie is important and worth scrutinizing because it satirically represents every fragment of our distorted social structure and human relationships. The opening scene with the shirtless male models of varied ethnic backgrounds prepping up for an audition speaks of a delusive diversity and inclusion. The shot of the single Asian judge seated at the table of judges, physically and verbally secluded from the “white” judges, mocks the concept of racial equality. On the humor side, the models are coached to look serious for a high-class brand (Balenciaga) and smile for a lower-class brand (H&M)—a metaphor on how lower classes of the society appear to have a happier outlook in life than the more stoic and formal upper class. Don’t we Filipinos know this too well.

Then, there is the gender equality issue when Yaya and Carl argue about footing the dinner bill. Intriguingly, Yaya, who is a a more high-end successful model than Carl (therefore, earns more income), admits that she had been manipulating Carl and enjoys the thought of being his “trophy wife.” We ask ourselves if women truly play secondary roles in the society, making them exert more effort (than men) to be recognized, and whether power play between men and women can be the root of relationship issues. Can Filipino marriages and corporate systems relate to this?

Let’s go back to the Filipino casting in this film. The boat scene tries to open our eyes to class segregation, and what a better scenario to show it than on a cruise where the fancily dressed ultra-rich behave like royals sipping champagne on the upper deck, while the minorities (enter Filipino crew) labor as cleaners, dishwashers, technical engineers, and so on in the lower deck. Here, we meet Abigail (played by award-winning Dolly de Leon), the toilet manager, who later transforms into the heroine of the movie. She is fastidious, efficient, and diligently able to manage her co-workers, in contrast to the American captain (Woody Harrelson) who is drunk and unmindful of his passengers’ welfare. He exchanges political and intellectual combat with the filthy rich Russian Dmitri—a plain ridicule of US and Russia capitalism and socialism. Furthermore, even within the Western system, the white-collar crew must heed the wealthy passengers’ commands—again, denoting unequal treatment and hierarchy abuse by bosses towards subordinates. They cheer enthusiastically “money, money, money,” signifying their synonymous desire with that of the lower deck crew’s.

The most entertaining part of the movie is the island scene. Abigail claims her position as the new “captain" since she is the only one in the group who can catch fish, cook it, and set up a fire—an indication of the upper class’ inferior survival capability. She exercises her new power to set rules and undermine the group who, in turn, now falls as slaves to her in order to survive. The hilarious scene of Abigail distributing cooked octopus bits one by one to the group with her getting the bigger share epitomizes the sometimes, false distribution of wealth we witness among governments. Abigail sleeps comfortably inside the lifeboat while the others suffer out on the sands. Moreover, she exploits Carl to be her lover (reverse labor abuse)—something that she would never be able to do if she were living in the real world.

This reminds us of many Filipinos who choose to work abroad to enjoy benefits of luxury and status that cannot be attained back home.

The open ending leaves puzzled viewers imagining what Abigail would finally do after Yaya discovers an elevator on the other side of the island that leads to a hotel resort (therefore, the “normal” life), and pulls Abigail to join her. Instead, Abigail picks up a rock and attempts to kill Yaya, but that final act is not shown. As a Filipino like Abigail, do we empathize with her disposition? Naturally, if the others learn that there is a way out of the island, Abigail would lose her attained power. She would resume her unprivileged status, and be disrespected and ignored once more. What would you do in Abigail’s shoes?

Is it enough for lower-class Filipinos to remain in their rank as long as money secures them? Could there be an end to feudalism in the Filipino society, which continues to encourage the outspread gap between the rich and poor?

We applaud Dolly de Leon for her wonderful performance. She is the only Filipino actor, so far, who had been nominated at the BAFTAs and Golden Globe Awards. Her awards and nominations are countless among film associations in Los Angeles, Portland, Vancouver, London, and more. Be sure to catch the movie and feel the Abigail in you.